DOCSLIB.ORG

The Royal Ballet Leavers 2019 Press Release

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Royal Ballet Leavers 2019 Press Release June 2019 Nehemiah Kish to retire from The Royal Ballet Principal dancer Nehemiah Kish has announced his decision to retire from The Royal Ballet at the end of the 2018/19 season after nine years with the Company. He will give his last performance on the Royal Opera House stage on Friday 14 June in The Firebird. He will also perform on The Royal Ballet’s tour to Japan in Yokohama in Kenneth MacMillan’s Winter Dreams on 30 June and give his final performance with the Company in Kenneth MacMillan’s Mayerling at the Music Center in Los Angeles on 6 July. He will be embarking on a course of postgraduate study in the arts and cultural policy in the autumn at Goldsmiths, University of London. Born in Michigan, Kish trained at Canada’s National Ballet School and joined the National Ballet of Canada in 2001, where he was promoted to principal in 2005. In 2008, he became a principal of the Royal Danish Ballet, before joining The Royal Ballet as Principal in 2010. Director of The Royal Ballet Kevin O’ Hare said, “Nehemiah has been a wonderful member of the Company and Principal dancer for the past nine years. His elegant presence has been shown to great effect in the danseur noble roles such as Swan Lake and The Sleeping Beauty. He has brought a keen intelligence to bear on many ballets, notably in the MacMillan repertory including Prince of the Pagodas, Manon and Romeo and Juliet. More recently he has memorably taken on many different characters, including an outstandingly poignant account of the Creature in Frankenstein, the husband in The Concert, Kulygin in Winter Dreams and Tybalt in Romeo and Juliet. He has been a gracious and thoughtful partner and a great role model. I know that he’ll be much missed by the Company and I’d like to take this opportunity to wish him all the best for his exciting next steps. I am delighted that he will be staying in the arts world.” For all Royal Opera House press releases visit www.roh.org.uk/for/press-and-media Kish commented, “It has been a privilege to perform with the inspiring artists of The Royal Ballet. I am grateful to have been blessed with a fulfilling career on stage, the last years of which in Covent Garden have been a treasured experience. I would like to thank my Directors, Dame Monica Mason and Kevin O’Hare, for their artistic leadership and support. My sincere thanks also go to the audiences and all the wonderful, dedicated and talented artists and staff at the Royal Opera House.” Kish’s many roles with The Royal Ballet include Albrecht, Romeo, Vershinin (Winter Dreams), Prince (Cinderella, Swan Lake, The Nutcracker, The Sleeping Beauty and The Prince of the Pagodas), Des Grieux (Manon), Richard P. Arnold (Enigma Variations), Jack/Knave (Alice’s Adventures in Wonderland), Onegin, Solor (La Bayadère), Espada (Don Quixote), Creature (Frankenstein) and roles in Monotones II, Still Life at the Penguin Café, Theme and Variations, Voluntaries, Les Patineurs, DGV: Danse à grande vitesse, Gloria and Song of the Earth. His role creations include in ‘Trespass’ (Metamorphosis: Titian 2012) and Aeternum. Details of additional promotions, leavers and joiners will be announced at the end of the season. Images are available to download here. ENDS NOTES TO EDITORS About The Royal Ballet Under the directorship of Kevin O’Hare, The Royal Ballet unites tradition and innovation with exceptional standards of artistry, creativity and stagecraft to produce supreme theatre for diverse audiences worldwide. It is a driving force in the development of ballet as an artform and brings together today’s most dynamic and versatile dancers with a world-class orchestra and leading choreographers, composers, conductors, designers and creative teams. Press Office Contacts Ashley Woodfield, Head of Ballet Press [email protected] Page 2 of 3 +44 (0) 20 7212 9165 +44 (0) 7984 513 676 Sarah Farrell, Ballet Press Communications Officer [email protected] +44 (0) 20 7212 9241 +44 (0) 7767 871 783 Page 3 of 3 .
Load more

Recommended publications
  • V&A to Open New Theatre and Performance Galleries Opening 18
    V&A to open new Theatre and Performance Galleries Opening 18 March 2009 The V&A’s Theatre and Performance Galleries will open in March 2009 exploring all performance types from theatre and ballet to pantomime and rock music. More than 250 objects from the V&A’s collections will be on display including a first folio of Shakespeare's plays compiled in 1623, costumes and sets from award winning productions, a guitar Pete Townshend smashed during a 1970s performance with The Who and the original 1957 poster for Look Back in Anger at the Royal Court. Specially commissioned films of playwrights, directors and actors will include interviews with Michael Frayn and Sir Peter Hall. The new galleries will present the collections in a fresh way, focusing on the process of production and performance from initial conception and design to opening night. Set models, stage props, costumes, original posters, paintings and photographs will be on show, representing live performance in Britain over the last 350 years. Original scores, documents and manuscripts will include the only known Handel promptbook produced during his lifetime (1720), the score for Jesus Christ Superstar (1971) marked with alterations made by the conductor during rehearsals and an early draft manuscript of Sheridan’s The School for Scandal (1777). The pages of each will be digitised to allow visitors to explore the texts in detail. A large section on costume design will feature garments worn on stage by leading actors such as Richard Burton as Henry V (Old Vic, 1955) and Laurence Olivier in Oedipus Rex (Old Vic, 1945) as well as musical performers including Jimmy Page and Brian Eno.
    [Show full text]
  • Final January 2019 Newsletter 1-2-19
    January 2019 Talking Pointes Jane Sheridan, Editor 508.367.4949 [email protected] From the Desk of the President Showcase Luncheon Richard March 941.343.7117 “Our Dancers—The Boys From [email protected] Brazil” Monday, February 11, 2019, Bird I’m excited for you to read about our winter party – Key Yacht Club, 11:30 AM Carnival at Mardi Gras – elsewhere in this newsletter. It will be at the Hyatt Boathouse on Carnival at Mardi Gras February 25th. This is a chance to have fun with other Monday, February 25, 2019, The Boathouse at the Hyatt Regency, Friends and dancers from the Company. It is also an 5:30 PM - 7:30 PM opportunity to help us raise funds for the Ballet. We need help in preparing a number of themed “Spring Fling” baskets that will be auctioned at the event. In the past, Sunday, March 31, 2019, The we’ve had French, Italian, wine, and chocolate Sarasota Garden Club, 4:00 PM – baskets, among others. Those who prepare baskets are 6:30 PM asked to spend no more than $50 in preparing them. However, you can add an unlimited number of gift Showcase Luncheon certificates or donations that will increase the appeal. Margaret Barbieri, Assistant Director, The Sarasota Ballet, If you would like to pitch in to support this effort, "Giselle: Setting An Iconic Work” please contact Phyllis Myers for information at Monday, April 15, 2019, Michael’s [email protected]. And, please come to On East, 11:30 AM the party. I am certain you will have fun! Were you able to see the performance of our dancers Pointe of Fact from the Studio Company and the Margaret Barbieri November was a record-setting Conservatory at the Opera House? Together with the month for the Friends of The Key Chorale, they took part in a program called Sarasota Ballet.
    [Show full text]
  • The Sleeping Beauty
    THE ROYAL BALLET APPROXIMATE TIMINGS DIRECTOR KEVIN O’HARE FOUNDER DAME NINETTE DE VALOIS om ch db e Live cinema relay begins at 7.15pm FOUNDER CHOREOGRAPHER Introduced by Darcey Bussell SIR FREDERICK ASHTON om ch cb e FOUNDER MUSIC DIRECTOR CONSTANT LAMBERT Prologue 33 minutes PRIMA BALLERINA ASSOLUTA Cinema interval DAME MARGOT FONTEYN db e Act I 31 minutes Cinema interval Acts II and III 70 minutes The performance will end at approximately 10.30pm THE SLEEPING Tweet your thoughts about tonight’s performance before it starts, during the interval or afterwards with #ROHbeauty BEAUTY BALLET IN A PROLOGUE AND THREE ACTS 2013/14 LIVE CINEMA SEASON THE WINTER’S TALE MONDAY 28 APRIL 2014 CHOREOGRAPHY MARIUS PETIPA ADDITIONAL CHOREOGRAPHY FREDERICK ASHTON, MANON LESCAUT TUESDAY 24 JUNE 2014 ANTHONY DOWELL, CHRISTOPHER WHEELDON MUSIC PYOTR IL’YICH TCHAIKOVSKY PRODUCTION MONICA MASON AND CHRISTOPHER NEWTON AFTER NINETTE DE VALOIS AND NICHOLAS SERGEYEV ROYAL OPERA HOUSE GUIDE TO ORIGINAL DESIGNS OLIVER MESSEL THE SLEEPING BEAUTY ADDITIONAL DESIGNS PETER FARMER LIGHTING DESIGN MARK JONATHAN Royal Opera House Guides contain specially selected films, STAGING CHRISTOPHER CARR articles, pictures, updates and exclusives to bring you closer to BALLET MASTER GARY AVIS the production. By purchasing your digital guide you can explore BALLET MISTRESS SAMANTHA RAINE the background to The Sleeping Beauty, the history of The Royal PRINCIPAL COACHING ALEXANDER AGADZHANOV, LESLEY COLLIER, JONATHAN COPE, MONICA MASON, CHRISTOPHER NEWTON Ballet’s production and
    [Show full text]
  • World Premiere of Angels' Atlas by Crystal Pite
    World Premiere of Angels’ Atlas by Crystal Pite Presented with Chroma & Marguerite and Armand Principal Dancer Greta Hodgkinson’s Farewell Performances Casting Announced February 26, 2020… Karen Kain, Artistic Director of The National Ballet of Canada, today announced the casting for Angels’ Atlas by Crystal Pite which makes its world premiere on a programme with Chroma by Wayne McGregor and Marguerite and Armand by Frederick Ashton. The programme is onstage February 29 – March 7, 2020 at the Four Seasons Centre for the Performing Arts. #AngelsAtlasNBC #ChromaNBC #MargueriteandArmandNBC The opening night cast of Angels’ Atlas features Principal Dancers Heather Ogden and Harrison James, First Soloist Jordana Daumec, Hannah Fischer and Donald Thom, Second Soloists Spencer Hack and Siphesihle November and Corps de Ballet member Hannah Galway. Principal Dancer Greta Hodgkinson retires from the stage after a career that has spanned over a period of 30 years. She will dance the role of Marguerite opposite Principal Dancer Guillaume Côté in Marguerite and Armand on opening night. The company will honour Ms. Hodgkinson at her final performance on Saturday, March 7 at 7:30 pm. Principal Dancers Sonia Rodriguez, Francesco Gabriele Frola and Harrison James will dance the title roles in subsequent performances. Chroma will feature an ensemble cast including Principal Dancers Skylar Campbell, Svetlana Lunkina, Heather Ogden and Brendan Saye, First Soloists Tina Pereira and Tanya Howard, Second Soloists Christopher Gerty, Siphesihle November and Brent
    [Show full text]
  • Numerical Listing
    SEQ DISC NO LABEL CDN PRICE PERFORMER DESCRIPTION a a THREE FOR TWO! ON ALL ITEMS PRICED AT £5.00, ONE- THIRD (1/3) OFF ALL ORDERS FOR 3 OR MORE a a 23776 0 10 1441-3 Supraphon, blue m A1 £10.00 Talich, Vaclav Vol. 1. Suk: Serenade for Strings; Asrael; Ripening. Czech PO c 22047 1 11 1106 Supraphon s A1 £5.00 Vlach SQ Beethoven: Quartets, Opp.18-1; 18-6 bb 22524 1 11 1755 Supraphon s A1 £5.00 Prague SQ Lubomir Zelezny: Clt. Quintet; Wind Quintet; Piano Trio. Prague Wind Quintet, Smetana Trio bb 23786 10 Penzance, USA m A1 £8.00 Callas, Maria, s Wagner: Parsifal, Act 2. Baldelli, Modesti, Pagliughi, -Gui. Live, 20.xi.50. In Italian a 22789 1007831 VdsM, References m A1 £7.00 Kreisler, Fritz, vn Beethoven; Sonatas 5, "Spring"; 9, "Kreutzer". F. Rupp, pf bb 23610 101 Rara Avis, lacquer m A-1- £10.00 Ginsburg, Grigory, pf Liszt: Bells of Geneva, Campanella, Rigoletto, Spanish Rhapsody / Weber: Rondo brillante / Chopin: Etudes, Op.25, 1-3. From 78s, semi-private issue b 22800 12T 160 Topic m A1 £7.00 Folk Songs of Britain, 1 Child Ballads 1. Various artists (field recordings) e 22707 13029 AP DGG, Archiv, Ger., m A1 £40.00 Schneiderhan, Wolfgang, vn Bach: Partita 2, D minor, for solo violin. Sleeve: buff, gatefold 10" bb 22928 133 004 SLPE DGG, Ger., tulip, 10" s A1 £12.00 Bolechowska, Alina, s Chopin: Lieder. S. Nadgrizowski, pf a 22724 133 122 SLP DGG, Ger., red, tulip, s A1 £12.00 Markevitch, Igor, dir Mozart: Coronation Mass.
    [Show full text]
  • Stephanie Jordan Re-Visioning Nineteenth-Century Music Through Ballet
    Stephanie Jordan Re-Visioning Nineteenth-Century Music Through Ballet. The Work of Sir Frederick Ashton Sir Frederick Ashton, founder choreographer of The Royal Ballet, was a noted exponent of nineteenth-century music, especially ballet music. Consider his Les Rendezvous (1933, Daniel-François-Esprit Auber), Les Patineurs (1937, Giacomo Meyerbeer), and Birthday Offering (1956, Alexander Glazunov); then his two/three act ballets La Fille mal gardée (1960, mainly Ferdinand Hérold), Sylvia (1952, Léo Delibes), and The Two Pigeons (1961, André Messager); and finally the two dances to music fromLa Source(Delibes and Léon Minkus), training pieces for the Royal Academy of Dancing (rad) Solo Seal examinations (cir- ca 1956). Nearly all these ballets are to French ballet music for ballet-divertissements within, as well as independent from, opera. Yet we could add Ashton’s settings ofpassages from Peter Ilyich Tchaikovsky’s The Sleeping Beauty and Swan Lake, his series of ballets to scores by Franz Liszt, The Dream (1964) to incidental music for Shakespeare’s Midsummer Night’s Dream by Felix Mendelssohn that sounds as if composed for dance, and AMonth in the Country (1976) to Frédéric Chopin (based on the play by Turgenev) which, as we shall see later, has a number of links with nineteenth-century Paris. Month is set to three early Chopin scores for piano and orchestra that are full of dances and dance rhythms. (Ashton maintained a penchant for more recent French music too: he set Darius Milhaud, Paul Dukas, Erik Satie, Francis Poulenc, Claude Debussy and, on a number of occasions, Maurice Ravel.)1 Most of these ballets are well-known Ashton, amongst his finest work, and never lost from the repertory.
    [Show full text]
  • The Australian Ballet 1 2 Swan Lake Melbourne 23 September– 1 October
    THE AUSTRALIAN BALLET 1 2 SWAN LAKE MELBOURNE 23 SEPTEMBER– 1 OCTOBER SYDNEY 2–21 DECEMBER Cover: Dimity Azoury. Photography Justin Rider Above: Leanne Stojmenov. Photography Branco Gaica Luke Ingham and Miwako Kubota. Photography Branco Gaica 4 COPPÉLIA NOTE FROM THE ARTISTIC DIRECTOR Dame Peggy van Praagh’s fingerprints are on everything we do at The Australian Ballet. How lucky we are to have been founded by such a visionary woman, and to live with the bounty of her legacy every day. Nowhere is this legacy more evident than in her glorious production of Coppélia, which she created for the company in 1979 with two other magnificent artists: director George Ogilvie and designer Kristian Fredrikson. It was her parting gift to the company and it remains a jewel in the crown of our classical repertoire. Dame Peggy was a renowned Swanilda, and this was her second production of Coppélia. Her first was for the Borovansky Ballet in 1960; it was performed as part of The Australian Ballet’s first season in 1962, and was revived in subsequent years. When Dame Peggy returned to The Australian Ballet from retirement in 1978 she began to prepare this new production, which was to be her last. It is a timeless classic, and I am sure it will be performed well into the company’s future. Dame Peggy and Kristian are no longer with us, but in 2016 we had the great pleasure of welcoming George Ogilvie back to the company to oversee the staging of this production. George and Dame Peggy delved into the original Hoffmann story, layering this production with such depth of character and theatricality.
    [Show full text]
  • White Lodge Museum Newsletter Issue 7
    Newsletter | Autumn 2012 Issue 7 Open House London Monica Mason donates portrait ‘Thank you for a very enjoyable visit – the mix of history, architecture and information about the modern ballet school made it a fascinating hour.’ Open House London visitor We enjoyed a third very successful year participating in Open House London – the city-wide festival of architecture which promotes free access to significant buildings. We were delighted to welcome over 450 visitors on the weekend of 22 and 23 September, despite an incredibly wet Sunday. The vast majority of visitors were coming to White Lodge for the first time. Many were interested in the fine Palladian architecture of this Grade 1 listed building, while others sought an insight into The Royal Ballet School. A new addition to this year’s tour was a circuit of the ornamental yew tree garden which remains from the original designs by Humphry Repton c.1805. Our expanding team of volunteers continue to offer us invaluable support, enabling us to broaden our public programming to include events such as Open House London. Some volunteers have been working with us for over two years, during which time the role has changed considerably as White Lodge Museum has developed. Volunteers are increasingly important in helping us achieve our goals, especially relating to learning and access. Our Open House visitor survey revealed extremely positive feedback, with many comments on how friendly and knowledgeable the guides were. Portrait of Monica Mason by Robert Heindel, 1985 Dame Monica Mason who retired as Director of The Royal Ballet in July has donated a portrait of herself by Robert Heindel to The Royal Ballet School Collections.
    [Show full text]
  • The REVIEW 2011/12 Heart of Darkness Alan Oke
    The REVIEW 2011/12 Heart of Darkness Alan Oke CONTENTS CHIEF EXECUTIVE CHAIRMAN EXCELLENCE NURTURE PARTICIPATION REACH YEAR AT A GLANCE FINANCE PHILANTHROPISTS FORWARD CHIEF EXECUTIVE Tony Hall CHAIRMAN EXCELLENCE NURTURE PARTICIPATION REACH YEAR AT A GLANCE FINANCE PHILANTHROPISTS TONY HALL, Chief Executive 2001/2013 This Annual Review is the first not to appear in printed Our commitment to offering variety and to taking courageous, form. The fresh format is indicative of the way in which we creative decisions with our programming ensures that our continue to evolve and embrace the best of the new. audiences have the opportunity to discover new flavours and develop new tastes. An evening at the Royal Opera House 2011/12 has been hugely exciting creatively, with new work, should be as much an exploration as a reacquaintance with the names and revivals to the fore. This momentum has been familiar. The fact that our audience levels stand at a consistent matched by our ongoing activities in reaching out to 92%, in such economically difficult times, demonstrates that communities and audiences in more direct and ever more we continue to offer work that people feel they simply have to meaningful ways. It has truly been an outstanding year, see. That makes all of us here, very proud. delivering value in every sense of the word. We have, as always, played a significant role beyond our walls Looking through the following pages it should become both domestically and in seizing international opportunities rapidly apparent just how great the range and quality of our to fly the flag for UK culture whenever we can.
    [Show full text]
  • Dorathi Bock Pierre Dance Collection, 1929-1996
    http://oac.cdlib.org/findaid/ark:/13030/c8pc33q9 No online items Finding Aid for the Dorathi Bock Pierre dance collection, 1929-1996 Processed by Megan Hahn Fraser and Jesse Erickson, March 2012, with assistance from Lindsay Chaney, May 2013; machine-readable finding aid created by Caroline Cubé. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 Email: [email protected] URL: http://www.library.ucla.edu/libraries/special/scweb/ ©2013 The Regents of the University of California. All rights reserved. Finding Aid for the Dorathi Bock 1937 1 Pierre dance collection, 1929-1996 Descriptive Summary Title: Dorathi Bock Pierre dance collection Date (inclusive): 1929-1996 Collection number: 1937 Creator: Pierre, Dorathi Bock. Extent: 27 linear ft.(67 boxes) Abstract: Collection of photographs, performance programs, publicity information, and clippings related to dance, gathered by Dorathi Bock Pierre, a dance writer and publicist. Language: Finding aid is written in English. Language of the Material: Materials are in English. Repository: University of California, Los Angeles. Library Special Collections. Los Angeles, California 90095-1575 Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact UCLA Library Special Collections for paging information. Restrictions on Access Open for research. STORED OFF-SITE AT SRLF. Advance notice is required for access to the collection. Please contact UCLA Library Special Collections for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UC Regents. Literary rights, including copyright, are retained by the creators and their heirs.
    [Show full text]
  • Viviana Durante
    VIVIANA DURANTE TRAINING & EDUCATION 1978–1983 Royal Ballet School Lower School 1983–1984 Royal Ballet School Upper School Diploma with Distinction 2014–2016 Royal Ballet School, Diploma of Dance Teaching 2014–2016 Trinity College London, Diploma in Dance Teaching and Learning (RQF Level 6) With Merit 2015–2016 Dance UK Mentoring Scheme: mentored by Jude Kelly (Artistic Director, Southbank Centre) and Louise Jeffreys (Director of Arts, Barbican Centre) 2017 Royal Opera House Shadowing assignment: Alex Beard, Chief Executive EMPLOYMENT CURRENT 2019— Director of Dance, English National Ballet School 2017— Artistic Director, Viviana Durante Company AS BALLET DANCER: 1984–2000 Royal Ballet Corps de ballet 1984-1987; Soloist 1987-1989; Principal 1989-1997; Principal Guest Artist 1997-2000 1990 Arena di Verona Guest Artist 1992 New York City Ballet Guest Artist 1993 Dutch National Ballet Guest Artist 1993–2002 Tokyo Ballet Guest Artist 1996–1998 Teatro dell’Opera, Roma Guest Artist 1998–1999 New National Theatre Ballet, Tokyo Guest Artist 1999 American Ballet Theater Principal Dancer 1999–2009 K-Ballet, Tokyo Principal Guest Artist 2000 English National Ballet Guest Artist 2000 Ballet de Santiago Guest Artist 2001–2002 San Carlo, Napoli Guest Artist 2002 Zurich Ballet Guest Artist 2002–2003 Teatro alla Scala, Milan Principal Guest Artist 2003–2004 Semperoper Ballet, Dresden Guest Artist 2005 Tulsa Ballet Guest Artist 2005–2006 Teatro Massimo, Palermo Guest Artist 2008 National Theatre, London Ballerina in Fram REPERTOIRE INCLUDES: Giselle,
    [Show full text]
  • Genee 2016 Programme.Pdf
    AS GOLD SPONSOR, BLOCH CELEBRATES THE GENÉE INTERNATIONAL BALLET COMPETITION 2016 SYDNEY CLAUDIA DEAN, BLOCH BRAND AMBASSADOR GOLD MEDAL AND AUDIENCE CHOICE AWARD 2009 SOUVENIR PROGRAMME Contents 02 Welcome 17 Judges 04 The theatres 18 Faculty 05 Dame Adeline Genée DBE 24 Lynn Wallis OBE: An artistic vision 06 Where are they now? 27 2016 Semi-finalists 08 Genée International Ballet Competition 38 Genée Dance Challenge 11 Awards 42 Maria O’Connor: SEMI-FINALS Continuity and variations 12 Semi-finals programme 7–9 December 44 Creative Spaces The Concourse 14 Final programme 47 Acknowledgements 15 Guest performance FINAL 11 December Sydney Opera House Presented by WELCOME Photo: CharlottePhoto: MacMillan As President of the Royal Academy of Dance, it gives me great pleasure to welcome you to the Genée International Ballet Competition 2016. Every year, we bring together an international group of judges for the Semi-finals and Final, made up of top professionals from the ballet world. And this year our esteemed panel represents both the northern and southern hemispheres. A huge amount of enthusiasm and hard work has gone into creating the competition this year, not least because it is returning to the beautiful city of Sydney for the first time in a decade. I am thrilled that our finalists will have the opportunity to perform at one of the world’s great venues, the Sydney Opera House. I would like to wish the very best of luck to all of the candidates, and to urge them to savour the experience and to take as much away from it as they can.
    [Show full text]